Last year, discussing the season of the Latvian National Symphony Orchestra (LNSO), which was just beginning at the time, I also heard the skepticism that, after the centennial of Latvian culture, there will be no more prominence. However, when you experience this year's musical events, the impression is just the opposite. In the first place, the orchestra of several conductors – their artistic director Andris Poga, Gintars Rinkevičs, Vasily Sinska, Ainārs Rubikics, Modest Pitren and Jānis Liepiņš – showed that they are in excellent shape at the moment.
Secondly, LNSO offered its artists and listeners a meeting with Latvian musicians and great viestolists, and we are guilty of not knowing about some of them before. In this context, I would just like to recall the sudden and astounding revelation of Simone Lamsm, a 34-year-old born in the Netherlands, a world-renowned violinist earlier this year, making Johannes Brahms a brilliant violin concert from a completely new personal perspective and very enthusiastic. The courageous approach to the interpretation and image of the visually effective violinist in memory does not swim randomly. The irresistible artistic impression coincides with the incredibly brilliant performance of our own violinist, Kristine Balan, along with the LNSO and the mastery Janis Liepins, last Friday, April 12, at the Great Guild.
First Class Diva
Kristine Balan returned to the LNSO this season for the second time (in mid-December, we listened to her on the performance of Felix Mendelsson's Violin Concerto). This time, we came across a real surprise – Kristin Balan brought to the fore the Austrian composer and intrepid Austrian Erich Wolfgang Corngold Vijon Concerto. This melodiously sweet and brilliant virtuoso opus is made by a composer who lives in the USA, where he composed music for Hollywood movies. Paying no attention to the modernism of the music of the time (1937-1945), he based the wonderful melodies of the Vocal Concert on his cinematographic themes.
Kristine Balan in this song radiated like a real-world violin star and first-class cinematography, fascinated by a very special, delightful and very visual violin tone of the essence of composition – a bright and efficient cut with an asymmetrical and wavy hairstyle in the thirties. The star was radiant everywhere. There is no doubt that the talented Latvian violinist, who is already widely known in the world, will be one of the most brilliant personalities of 21st century violin art.
Jānis Liepiņš is a driver researcher, and this statement, in the first place, refers to the search for a repertoire of new and uninhabited songs. His latest discovery is the conceptual miniature of the early modernist American Charles Awis. Unanswered question sounds like intriguing musical conversation and at the same time sophisticated between absolutely or spherical harmony of floating instruments of eternal harmony (which reads from the foyer in the open door), insistently dissonant trumpet solo (interpreted by Janis Porietis somewhere nearby) and these "discussions "Confused on stage Try to respond to all the wind instruments in front of the eyes. The choice of this work – essentially an instrumental theater – also confirms the mission of the theatrical artist of Jānis Liepiņš, only this time in a small format.
An important discovery, at least in our musical circulation, is also the minority of the well-known French romantic Sesher Frank Symphony, which I have never heard on the Latvian music scene until now. With a romantically glamorous, emotionally and instrumentally rich symphonic opus that speaks so much of the powerful wavy orchestra pacifier The color strokes, as well as the ground expressive tool, the driver faced convincingly, purposely controlling the mass of the orchestra and highlighting the subtleties. The message of the symphony was very temperamental, very lively, also sensual.
The meeting of Kristine Balan and Jānis Liepiņš in the program on April 12 came as the ninth wave of the symphony of the capital in the spring, where in March only three major symphonic musical events followed in the Great Guild. First of all, Rihard Wagner's opera is an ambitious and emotionally full Tristan and Izolde The Message of the 2nd Generation and Death of Israel on March 1 – Andris Poga's Senegalese Dreams Achievement, with the powerful voices and emotional concentration of Irén Theorin, Martin Dikes, Corby Velch and our Egil Silin, along with sensation of a tumult in the orchestra, was already at an ecstatic peak and in a really lamentable slowness.
Ainārs Rubiķis, currently in charge of the musical director of the Berlin Comic Opera, on March 15 at the LNSO and the Academic Choir of the State Latvia teacher's table with our opera soloists Jolanta Strikait, Laura Greck and actress Rezia Kalniņš and Orestes Silabrieds as stories for live and glamorous imaginative, truly romantic, visual images fluttering suites of Felix Mendelsson-Bartold A dream of a summer night play. For headdresses, fairies, a donkey for a donkey and other Shakespeare comedy characters, there's enough music here! Arthur Oneger's distinctly existential, contrasting, and truly surviving post-war reading – the Third (Liturgical) Symphony – shook heavily.
An unforgettably colorful chamber music concert nuanced by the classic Triple Concerto by Ludwig van Beethoven (Do Mazor, op. 56) read by Modest Pitren's conductor on March 29 Trio Palladio – Violinist Eva Bindere, cellist Kristin Blaumane and pianist Reinis Zarins – were thrilled with such a subtle, natural and lively ensemble ensemble that allowed the symphony to blend in with the deeper essence of chamber music. Spring is still late, but it has already bloomed on LNSO concert shows.